High-Profile Placements

We know you can write a hit but can you get it on a to a major artist or hit TV show? We can. We know you can score in the studio but can you get your work into a film score? We can do that, too.

We get the best placements in the business. And that means you get the best exposure possible, exposure that drives audiences and music industry execs to take a closer look at you and your work.

We’re Wired For Sound

We’re hooked up, locked in, and well connected to every significant player in our industry. We work with all the major record labels, music supervisors, studios, and networks. We’ve got relationships that are probably older than you are and we make new ones all the time. You won’t find a more direct path to placements or profits than you will with us.

We Negotiate Every Twist and Turn

There’s a science to this business and we understand it well. But there’s also an art. It’s the art of negotiation and we’re very, very good at it. We know how to maximize your return. The flexible financial models we use to get the most out of production budgets allow us to provide more of your music to more people who want it and that means more money in your pocket.

Retain Your Rights Through Artist-Friendly Licensing

We’ve all heard the horror stories; it’s every artist’s biggest fear: sign on the dotted line and sign your life away. Not with Beatology.

Our deal with you is non-exclusive. That means you’re free to do other non-exclusive deals. You can even place your songs with our direct competitors.

We know what matters most to you is maintaining control of your music. If we break a song in a Hollywood movie, and that leads to your big break with a sweet recording contract, you can still move forward with your career.

We count on you to give us your best music. You can count on us to give you the best deal.

Streamlined Submission Process

We’re busy. You’re busy. Everybody’s busy. And no one wants to waste time on a complicated song submission process. So we make it easy.

Select your songs. Put them in the right format. Load them up. And tell us a little about them so we’ll know how to pitch them into the best spots. We’ll give them a listen and let you know which cuts we like.

We take only songs we know we can place. So if we take you, you can almost certainly count on getting a placement at some point in your contract with us.

If we don’t take any tracks from your first submission, send us some more, and we’ll give you another listen. Our streamlined submission process is fast and easy. Just like it should be.

We Keep in Touch

Got a question? Send us an e-mail. We answer every one. We know that communication is the foundation of great relationships, and that great relationships are the foundation of our business.

Are we busy? You bet we are. But we’re never too busy to talk to one of our artists. We know that without you, our business doesn’t work—and that with you, we can work wonders.

We want to break your music. Not you.


  • You have to own or control your own masters and publishing for next three years and the renewal term; and you must be a registered writer of either ASCAP, BMI, or SESAC, or your country's Performing Rights Organization (PRO). If you have co-writers, they have to own their own publishing too, be a registered writer with a PRO and they must sign off on the agreement as well. If you or your co-writers have an exclusive administration deal for your publishing with someone like Bug Music, Cherry Lane, TuneCore (Publishing not Digital Distribution), EBA Online or another publishing entity, we can not represent your catalog. If you or your co-writers have a full or co-publishing agreement with another publisher, we can not represent your catalog.
  • You own 100%. You DO NOT LOSE or GIVE UP any ownership of the copyrights in the master recording or the composition.
  • Your deal with Beatology Music will not prohibit you from doing anything with your music.
  • You are ONLY granting Beatology Music a NON-EXCLUSIVE right to pitch, negotiate and issue non-exclusive licenses for the use of your music by our clients.
  • Beatology Music will collect and send you 50% of all up front revenue generated by the placements we secure for you.
  • You will be paid 100% writer's performance royalties directly from your performing rights organization for the uses we have generated for you. Beatology will be paid by the performing rights organization 100% publisher's share for the uses we have generated for you and only those uses.
  • Beatology Music will never give your music away for free. No "gratis" deals will be made.
  • The agreement will last 3 years. Unless we receive your termination notice, 60 days prior to expiration, the agreement will automatically renew for another 3 years.
  • You will have to provide a full version, an instrumental version and a clean version (if lyrics are explicit) of your song(s) to us with 2 signed copies of the contract.
  • All versions of your songs will be added to our online searchable database and to our hardrives, a portable hard-drive we will supply to music supervisors, editors and creative directors.
  • All artists receive the same deal and sign the standard agreement. No exceptions will be made; the agreement will not be modified.


Submitting Music Questions

Who can submit music to Beatology Music Inc.?
Anyone can submit music as long as he/she owns their own masters and publishing, all songs are original, and you have the right to enter into this agreement with us. You must also be registered as a writer with either ASCAP, BMI or SESAC, or your country's Performing Rights Organization (PRO). We DO NOT accept submissions from other placement reps which remove us one step from the actual rights owner.

What if my record label owns/controls the masters and publishing?
Do not submit your music online. Please have your record label contact us. Most indie labels are willing to work with us. If you are signed with a major label, or a label distributed by a major, do not submit to us; we can not take your songs.

What if my record label owns/controls the masters and I own the publishing?
Do not submit your music online. Please have your record label contact us. Most indie labels are willing to work with us. If you are signed with a major label, or a label distributed by a major, do not submit to us; we can not take your songs.

What if my publisher owns/controls the publishing and I own the masters?
Do not submit your music online. Please have your publisher contact us first. Most indie publishers are willing to work with us. If you are signed with a major publisher such as Warner Chappell, EMI, Universal, do not submit to us; we can not take your songs.

What if I own my masters and publishing but i have an exclusive administration deal (ie publishing)?
We can not work your music if you have an exclusive administration deal with any company such as Bug Music, Cherry Lane, Tunecore, etc for any country, even though you own your copyrights. NOTE: If you have a administration deal with Tunecore, it does not allow you to contract with non-exclusive reps who share in publishing performance royalties; do not submit to us if you signed to Tunecore's publishing administration deal or plan to. A digital distribution deal with them is ok, and we can work with those tracks.

What if I have an exclusive film/tv representation deal?
We cannot work your music if you have an exclusive film/tv representation deal with someone like Riptide, APM, Hype Music, or 5 Alarm Music/Rescue Records etc in any country

Can I submit music if I have co-writers?
Yes, you can submit music written with co-writers. However, your co-writers must own their own publishing, be registered with as a writer with a PRO, and must sign the agreement as well. If you list yourself as the only writer, and sign warranting such, and we find out that there are other parties involved in the ownership of the composition, it will be breach of contract. We also will not accept a signature from one person for another regardless of any verbal understanding between parties.

Can I submit cover songs?
Yes if the listing asks for it.

What if I've used samples in my song(s)?
We can accept for artists but not for film and television. As long as the samples are buyout there are no problems; you may submit the song(s) for film and television. 

What if I've sampled someone's song in my recording?
This is sometime acceptable for artists but not for film and television.

What if my song(s) are arrangements of public domain songs?
You may submit arrangements of public domain songs. Please make sure you know who the original composer was, and when they died...and input that info in the description section of the submit form. Public domain status worldwide varies from country to country, so it's safe to submit tracks by composers who have died pre-1900. You can read more in the Music 101 section of the site.

What type of music can I submit?
You can submit all genres of music. Our clients have used all types of songs imaginable. We would like our catalog to be a diverse as possible, so that when the unusual request comes in we can make a pitch. Also, we mostly specialize in song placements, and do not take as many instrumentals as other catalogs. Instrumentals that serve as wallpaper cues for Discovery programs and reality shows do not work for us, as we don't have those type of clients. We like to have instrumentals with the vocals so that editors can cut between the two to work around dialog. The type of instrumentals that work for our clients are Jazz, Electronica, Dance, World, Specialty (ie muzak, period music), Blues, Percussion based Trailer Music, Latin, Classical and Cinematic Scores (for when a character is watching a tv or movie).

How do I submit my music to Beatology Music Inc.?
Once you receive a confirmation letter and filled out the questionnaire

1. Please check your email for an invite to our Dropbox folder and our Google Doc folder. Please accept invite.


2. Please upload to the Dropbox folder 16 bit, 44.1 WAV files only. Full versions with no tags.


3. Fill out all info on the Beatology Music Inc Working Doc tab “Beat Catalog” for all instrumentals and instrumentals with hooks. For songs fill out under the “Song Catalog” tab.


4. If there all any additional writers you must fill out “Composer/Writer/Performer Info” sheet for each song/beat.


If there are any questions feel free to contact us. Thanks in advance.Y


Must I complete the questionnaire for each song?
Yes, we cannot pitch your music without it. The answers to the questionnaire provide us with important information about your song that allows us to categorize and pitch your music when music requests come in. Without this information we will not be able to adequately know your catalog and pitch your music.


How many songs can I submit?
As many as you want. Read the listings first and submit accordingly. The more great music you submit the better your chances of placing it.

What quality standards do you have for the recordings?
We require all submissions to be of master quality. Your music does not have to be recorded in an expensive studio—but it should sound like it was. Demos will not be accepted.

How long will it take for Beatology Music Inc. to review my music?
We receive hundreds of submissions a day. We may not be able to review your music immediately. Please be patient, and we will inform you via email as soon as we have any leads.

Will you let me know if my song(s) have been accepted or rejected?
Yes, you will receive an email from us either way. If your music is accepted into our catalog, you will also receive a contract and a letter explaining the terms of the agreement.

Contract Questions

What rights am I giving to Beatology Music Inc.?
You authorize us to promote your music to our clients in the music, film, television, commercial, cable, ringtone (and the like) industries; secure placements, and issue non-exclusive licenses (for both the master recording and the composition) to our clients who use your music (synchronize) in their productions; and their associated soundtracks.

Will I lose ownership in my songs?
You do NOT lose or GIVE UP any ownership of the copyrights in the master recording or the composition. You are ONLY granting us a NON-EXCLUSIVE right to pitch and license your music to our clients, and share in the revenue for the placement we acquire.

Will I be able to create and sell records with the songs I've licensed to Beatology Music Inc.?
You can create and sell records, as long as you maintain ownership of the master recording and composition. Your deal with us will not prohibit you from doing anything with YOUR music.

Will I be able to secure a record or publishing deal with the songs I've licensed to Beatology Music Inc.?
Yes, but you cannot have an exclusive label and/or publishing deal and have a non-exclusive with Beatology. It is costly and time consuming for us to remove your songs from our catalog before the termination date, we ask that you seriously think about your goals before signing our agreement, because if your goal is to secure an exclusive deal within the three years (label, publishing or administrative), we suggest that you not sign the non-exclusive with us now. We understand that you can't predict the future, and should you receive that once-in-a-lifetime offer and you've already signed a deal with us, please inform the prospective agent (that you have an offer from) before signing their deal, that you have an agreement with Beatology Music Inc. for the songs in question. Also, let us know about your offer, and we will evaluate it, and try to work out the best scenario for all parties involved.

Will I be able to work with other agents offering the same services?
Yes, your agreement with Beatology Music Inc. is non-exclusive. You should explore as many opportunities as you can to expose your music. But please note that you cannot have an exclusive agreement with another party and also have a non-exclusive agreement with us. Also we will not let you out of our agreement because another non-exclusive partner has a problem with your agreement with us.

How much will I make on the placements you have secured for me?
You authorize us to negotiate the license (master & synchronization) fee with our clients, collect payment, and pay you 50% of what we receive. We will negotiate the best rate based on the type of use. We're not going to GIVE AWAY your music; no "free" use deals will be made.

How often will I get paid?
Payments will be made quarterly for the money received in the previous quarter (May 15 for 1Q receipts, August 15 for 2Q receipts, November 15 for 3Q receipts, and February 15 for 4Q receipts), if there is more than $50 accrued. If less than $50 is accrued, payment will be carried over to each next quarter until you reach $50 at which point you will be paid. Starting August 15, 2013 you will be able to login to your account and review/download statements if you have any royalty payments. If you have less than $50 you will receive an email stating royalties are accrued and being held till you reach $50 at which time you'll be paid, but no statement will be available for viewing in your account until you reach the threshold of $50. If you have no money owed you, your account will not have a royalty statement posted. If you have tracks with Beatology Music Inc. that were submitted by a co-writer/co-owner you will be able to view the royalty statements for your tracks only but your co-writer/co-owner will get paid the full artist share (50%), and you'll need to contact your co-writer/co-owner for your share.

If there is more than one person signing the agreement, will each signatory get paid separately?

Will I receive performance royalties from my PRO (i.e. ASCAP, BMI, SESAC etc.)?
Yes, as long as you are a registered member of one of the performing rights societies, you will receive writer's performance royalties directly from them on a quarterly basis for any broadcast placements. If you are not registered with a PRO, you MUST register with one before signing the agreement with us. We are not responsible for any lost revenue as a result of your failure to become registered PRO member.

Do you re-title?
Technically we do not re-title. To keep the publisher's revenue stream separate on our placements, we add a catalog number to the title and register that as a new title with ASCAP, BMI or SESAC. Example: CMI1234 I Love You. This tag will be listed in the exhibit on your contract as well as in your online account in your submission history. We receive 100% of the publisher's share of performance income for our placements, and you receive 100% of the writer's share of performance income on our placements only. This will not interfere with you receiving your full publisher's share of performance on your own placements or that of other non-exclusive reps

When I make money on my music, I have agreed to pay the band members. Who will pay them?
It will be your responsibility to pay additional vocalists, musicians, arrangers, producers i.e. any third party you have a revenue sharing agreement with, out of your share of the revenues.

What if me or my band members are union musicians?
We cannot work with your songs if the songs were recorded under an AFM or other union agreement. It is cost-prohibitive for us to license your songs, as the union new use and re-use fees for use in films, television shows and advertising are more than the revenue we would receive for the actual license. We and our clients are not responsible and will not pay any new use or re-use fees for the use of your songs.

How long does my agreement last?
Your agreement with Beatology Music Inc. will last 3 years and then will auto-renew for another 3 years, unless you notify us within 60 days of the expiration date, that you do not want to renew with us.

Can my agreement be less than 3 years?
No. We believe 3 years is a reasonable amount of time for us to get your music out there and secure placements for you.

What happens when I terminate my agreement?
We will remove your music from our site, business computers, and clients' Drives, within the end of the first full calendar quarter after the termination date. For example, your contract expires February 1. 2009. We receive a letter from you on December 1, 2008 that you want out of the contract. We will remove all of your songs by June 30, 2009. If your music is part of a 'blanket' agreement, meaning a client is given x number of songs to use as much as they want for 4 years for an annual payment, then we will remove your music when their contract expires. You will continue receiving your share of the revenue for the 4th year. We can not recall all of the individual CDRs or DVDRs that clients have. Any music we have in our possession will be destroyed.

What happens if I terminate the agreement, and then you inform me that you secured a placement for me in a TV show?
After Termination, we will immediately stop pitching your stuff. However, we reserve the right to license your songs, if a client received your music through us while you were under contract, but didn't use the music until after you terminated your agreement. Again you will receive your share of the revenue from this license.

I and my co-writers have read the agreement and are OK with the terms, what do I/we do next?
Please print 2 copies of the agreement, confirm all of the information is correct, have all parties sign both copies (DO NOT SIGN FOR YOUR CO-WRITER, WE DO CHECK SIGNATURES) and return both to us at:

Beatology Music Inc. 10523 Burbank Bl. North Hollywood Suite 210, CA 91604


You will receive an executed copy of the agreement from us in the mail.

Deliverables Questions

What is an instrumental version of my song?
An instrumental version of your song is the song without the lead and background vocals. If you have saved your session, all you have to do is create a mix without the vocal tracks.

What if my song is an instrumental?
If your song is an instrumental, then you do not have to provide anything else.

What is a clean version of my song?
A clean version of your song is the song with the explicit words i.e. curse words "dropped" out from the vocal track. This is also called a radio edit. Basically, the explicit word is replaced by silence. The music, which is recorded on separate tracks, is still playing underneath.

What if I don't have instrumental or clean versions?
We prefer instrumental and clean versions accompany your full song, as it makes your song more usable to our clients, who sometimes like to only use instrumentals or would like to mix the vocals/music around dialogue. Network, and even basic cable shows, have strict criteria about explicit lyrics, and may not be able to use your song, if they can not edit the explicit lyrics out.

Can I supply the instrumental and clean versions at a later date?
We prefer that you supply this material at the same time you return your contract. But understand that it may take some time to pull the various mixes; and we will accept these at a later date. But understand, it is your responsibility to send in the various mixes, and ultimately you will benefit with more uses of your music.

Music Use Questions

How will your clients use my music?
Our clients may use your song once in a show, film or commercial, or multiple times. They may use 5 seconds or the entire song. They may use it coming out of a radio in a car the character is driving (background use) or they may us it in a visual montage (feature use) to connect several scenes together. The license and rates we issue depend on the number and type of uses within one production.

What type of uses can I expect?
Your music will be pitched to all types of production people, ranging from film/TV music supervisors to creative directors at ad agencies. Anyone who synchronizes music to an audio/visual production may find use for your music. That means you could get placements in a feature film, indie film, DVD feature, film trailer, television show, television promo, video game, video game trailer, and the like.

Will I be able to approve or reject the type of uses your client is requesting?
You will not be able to approve or deny the licenses we issue, due to the nature of the shows or the type of uses, because of personal "moral" reasons. You are waiving those rights.

Will clients be allowed to edit the songs?
Yes, clients will be allowed to edit your songs to fit their needs.

Will my song be released in a show or film's soundtrack?
If a show or film wants to use your song in the associated soundtrack, then we will negotiate a separate license and fee for that use. You will receive 50% of the revenue we collect as a result of the release of the soundtrack. Not all songs used in shows or films are released on the soundtrack.

What type of licenses does Beatology Music Inc. issue to it's clients? A non-exclusive license will be issued for the exact terms a client needs. All television shows are given the following rights: All Media excluding Theatrical (means they can't show the tv show in a movie theatre, but can anywhere/anyhow else including the internet); In-context Promos/Advertising (means they can take a clip of the show with the music embedded in that clip to promote the show); Videogram Buyout (means they don't have to pay any extra to distribute it via DVD...in foreign territories this is known as a mechanical for DVD, and the buyout waives those mechanicals in foreign territories so the writer/publisher can NOT collect those); Worldwide, and Perpetuity. All films are given either Film Festival Rights, where they can only show the film at non-revenue producing events for a certain period of time in order to attract distributors OR All Media Rights (which is the same as Television rights plus Theater showings); In-Context Promos/Advertising; Videogram Buyout; Worldwide and Perpetuity. Advertising rights are non-exclusive or exclusive for the brand category (the latter requiring permission from the artist), for the medium requested (internet, television, theatrical, radio, industrial use ie at conventions, in retail stores etc), can include various lengths of the spot and/or lifts, a specific territory, and are for a set period of time. Beatology Music Inc. keeps a copy of every license issued, but does not supply copies of these licenses to its artists.

When do you issue a license for the use of a song? A confirmation letter is usually sent to us by the client, to inform us of the use, the details of the use and the rate we have negotiated for the use. At this point, the song may still be dropped from the broadcast or release. We do not issue a license/invoice until we receive a license request from the client informing us that the song has definitely been used and will be in the broadcast or release.

Will you let me know if when my song has been used in a show, film or commercial?
Due to the high volume of placements we secure each year and specifically the unpredictability of television schedules and release dates, we may not be able to inform you before a song is used, and when it will air. However, if your music is used, after we are paid for it, and the amount is more than $50, you will receive a quarterly statement (May 15, August 15, November 15 and February 15), identifying the use, and the amount of money you are being paid, along with the payment. If the amount is under $50, the report and balance will be held till the next quarter.

Will you supply a copy of the cue sheet to me?
Beatology Music Inc. collects cue sheets but does not provide the writers/publishers a copy of the cue sheets unless they have a problem collecting their performance royalties for a specific broadcast. Beatology Music Inc. tracks performance payments with the performing rights organizations and confirms that all parties are paid; as a publisher that is one of our responsibilities on your behalf.

What if I receive a royalty report from Beatology Music Inc. that states a song has been used in a TV show, but my report from the PRO for that broadcast quarter does not reflect the usage?
We receive cue sheets for every use, and we will make sure that the correct cue sheet has been submitted to the PRO. If a payment was missed by the PRO, they will provide an adjustment in the following quarter.

Will you supply copies of the license to me?
No, we do not supply copies of licenses to our artists.

Will you pay me if my song(s) are on your website and someone listens to the song there?
We will not pay you for mechanical fees for the duplication of your songs for promotional uses (i.e. pitching) or performance fees associated with the audition of your music (i.e. via internet, email, hard-drive).

How long does it take to receive payment from a client?
Sometimes it's within 30 days of issuing the license/invoice and other times it can be a year. Studios generally do not pay until the production has been broadcast or released. We have an accounting department which is responsible for collecting payments.

Music Publishing & Licensing 101

Here's a music publishing and licensing primer for those of you who may not know how the business end of your creative process works.

What is a Master? A master recording is the actual physical sound recording, whether it's burned to disc or exists as a digital file.

What is a Composition? The composition is the actual words and lyrics that are sung/played by the performers.

What is a Copyright? This is an intellectual property that exists in 2 forms: one is the sound recording which is owned by the person who paid for the recording, and the other is the composition, which is owned by the person who wrote the song or published the song.

What is a Publisher? In the traditional sense, it was a person or company who published (made available to the public) the sheet music for the composition. Today, it's a person or company that owns or controls the composition 100%, promotes, exploits and collects the worldwide revenue from various streams such as radio airplay, audio recording duplication, film/tv licensing, etc. The publisher usually will pay the writer to gain ownership of those rights, or if the writer doesn't have a publisher, he/she also doubles as the publisher. Generally, publishing agreements are exclusive.

What is an Administrator? An administrator is a publisher, who gains 100% control of the composition while allowing the writer to retain ownership of the compositional copyright. The administrator's main service to the writer is to collect, for a small percentage (10%-25%) the revenue generated by the use of the composition. In some cases, the Administrator will promote and exploit the composition as well. Generally, Administrative agreements are exclusive.

What is an Exclusive agreement? This is a deal made by the content owner and another party giving that party only (and no others), the right to exploit the content on the owner's behalf. In most cases, the owner can not exploit the content either. Fees may be paid by the party to the owner to gain the exclusive right. Exclusive agreements can not exist with other agreements (regardless of non-exclusivity or exclusivity).

What is a Non-Exclusive agreement? This is a deal made by the content owner and another party giving that party the right to exploit the content on the owner's behalf, while allowing the content owner to employ other third parties to do the same. The owner can exploit the content as well. Multiple Non-Exclusive agreements can exist.

What is a Sample? A sample is a small section of an audio recording, owned by someone else and embodying another's composition, which is used/integrated into a new recording.

What kind of Samples can I use? For sale samples made specifically to create new recordings, and bought by the user, with rights to use the sample in any manner they wish; and exploit the final recordings for revenue.

What kind of Samples can I NOT use? Samples taken from another recording without the permission of the creator i.e. from your cd collection. Even if permission and payment is made to the content owner, usually the rights given to the User is very specific and limited. The sample can not be exploited outside of the rights paid for. A common right is to use the sample in the new audio recording for sale to the consumer for personal use. This right does NOT allow the user to license the final audio recording to a TV show for use as background music. The production would have to clear and pay for the sample with the original content creator for the use.

What is Quoting? This is when the composer takes a portion (no matter length), of another composer's composition and incorporates into his or her own composition. This like a Sample, would require clearance from the composition owner/publisher for very specific uses.

What is Public Domain? A very simplified answer...in the US a composition is no longer copyright protected 70 years after the death of the composer and becomes, theoretically, the property of the 'public'. This means that anyone can record or perform a composition (and revenue may be earned on the new recording) without having to pay for it. The rules for public domain status are different for each country around the world. A composition that is in public domain in the US may not be public domain in France, as the copyright laws for each country apply to the composition regardless of where the composer was born. If the composer died before 1900, almost 99% of the time the song is public domain worldwide. Identifying public domain status is tricky, and thorough research of each song, death dates, publishing dates, laws of countries where you want to distribute is necessary, and one may want to consult a musicologist to confirm public domain status before creating/selling/licensing a public domain composition.

What is the AFM? It is the musicians union in the US. Like other unions it negotiates pay rates for musicians for a variety of jobs, and offers benefits/services to its members.

What is a Union Recording? When a recording session utilizes AFM or union musicians in the audio recording, pays the musicians based on union rates, and the paperwork is filed with the AFM, this is a union recording.

What is a New Use? This is when a song is used outside of its intended purpose (generally applies to Union Recordings). For example, you record a CD with union musicians, and have filed union paperwork, you have paid the musicians for their time to create and duplicate a certain number of CDs for sale; this is your intended purpose. If you take a song off of that CD and license it to a TV show, you have created a separate use (not what you intended when you hired the musicians), and you have NOT paid the union musicians for this exploitation of their talent, so they must be paid a New Use Fee as well. Depending on the circumstance, either the content creator or licensee will have to pay the New Use Fee.

What is a Re-Use? You record a CD with union musicians, and have filed union paperwork, you have paid the musicians for their time to create and duplicate a certain number of CDs for sale; this is your intended purpose. But you decide to duplicate more recordings beyond what you initially paid for, then you must pay additional fees to the musician, this is a Re-Use fee. This can also occur with advertising music. The music is created and used for a 13 week period and the union musicians have been paid for their work to run 13 weeks. But then the agency wants to run the spot another 13 weeks. In order to do so, someone must pay the union a re-use fee.

What is an Interrupted Use? A continuous use of a song in a scene, but the picture is edited so that another scene with other audio is stuck in between creating two separate scenes, but the song is in both. So if you were to take the 'middle' scene out of the picture, the two scenes with the song, would play as one scene continuously. Interrupted scene uses generally count as 1 use for licensing purposes.

What is Name & Likeness? You have the right to use your name and likeness in promoting yourself. You must give that right to other people in order for them to exploit your music. An example of that is when your song is used in a film credit, and they list your name as the artist. You have to give them the right to list your name.

What is a Moral Waiver? A moral waiver is when you give up the right of approval for the use of a song in a production which may contain content you find morally objectionable i.e. alcohol, or oil industry, etc.

What is a Work-for-Hire? This is when a musician/composer is hired and paid for his/her services, but the content created is owned by the person/company who pays the musician. Generally, the musician/composer has no rights to the content, other than their writer performance fees.

What is a License? This is an agreement that the content owner, known as the Licensor, agrees to let another party, known as the Licensee, exploit the master recording and composition for specific terms and conditions. The fee for the use is also outlined in this agreement.

What is the Master Use Fee? This fee is paid to the owner of the audio recording for the use of it. In film/tv, the master use fee is paid to affix the audio recording to picture. In CD sales, this fee is paid for the use of the master in a cd compilation. An example of this is when a TV show uses a song, then the show creates a soundtrack for sale, the production company will have to license the master again for additional $. They will also have to license the composition again which would be a Mechanical fee paid per unit manufactured. For any audio/video production, you have 2 fees paid (master and synchronization).

What is a Synchronization Fee? This fee is paid to the owner of the composition (composer or publisher), for the use of the composition in audio/visual productions only. For any audio/video production, you have 2 fees paid (master and synchronization).

What is a Mechanicals Fee? This fee is paid to the owner of the composition (composer or publisher) for the use of the composition in an audio recording only. So if someone records a composition for their own CD, with their performers, then they must pay the composers and publishers a fee, per song, per unit manufactured, which is regulated by Congress (current rate is over $0.09 per song per unit manufactured, this is called the 'statutory rate'). The fee is split 50/50 between the writer and the publisher.

What is Harry Fox? This is an organization that a publisher can hire to issue Mechanical licenses and collect the fees for the use of the compositions in audio recordings. Harry Fox takes an administrative fee from the revenue generated for its services. A publisher can also choose to handle the Mechanical licenses themselves.

What is a Cue Sheet? This is a list of tracks that are used in a Production detailing the title of the song, the writers and their splits, the publishers and their splits; and the length of use of the song. Cue sheets are created by the production and supplied to the performing rights organization as well as to the supplier of music, so that performance royalties can be paid to the writers and publishers (see definition below).

What are Performance Royalties? When a song is broadcast on radio, television, live event in a concert hall, or even in a restaurant (in some countries internet and theater performances also count), US performance rights organizations such as ASCAP, BMI and SESAC (each country has its own organization) collect annual fees from the "broadcaster" for the "performance" or use of the compositions, and then distribute the revenue to the writers and publishers (50% of the fee going to each). Each production is required to submit a cue sheet outlining the use of all of the songs to the PRO. The PRO has their own way of calculating the fee owed to the writers and publishers based on the cue sheet, type of venue, length of use, number of uses, ratings, and a variety of other factors. For television, these royalties are paid each time the show broadcasts the song, and are separate from the Master Use and Synchronization. For film, in the US, these royalties are only paid once the film is broadcast on television and are separate from the Master Use and Synchronization. In order to receive these royalties, you must be a member of one of the US PROs as a writer, as a publisher, or as a writer/publisher. If you register yourself as a publisher only, you will not receive writer royalties. If you are a writer, and do not want to setup a publishing entity as well, you must alert the PRO that you want to be assigned copyright control, which means they will forward the publishing revenue to you. If you are a writer, and someone else owns the publishing you will only need a writer registration.

What is Perpetuity? This means forever.

What is a Derivative? This is a new copyright that is created based on another copyright. In the true sense, the musical piece & ballet of Romeo & Juliet by Prokofiev is a derivative of Shakespeare's written work Romeo & Juliet. Both works exist separately as copyrights. In the production library world, a new derivative copyright is created by making a significant edit of the original master recording and composition and giving it a new title. Re-titling a song only, without the edits, does not make a derivative copyright. Derivative copyrights exist on their own and the owner of the original copyright may not own the derivative as well. In most cases, the party creating the Derivative will own the Derivative copyright.